Tuesday, January 12, 1971
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The Daily Tar Heel
Bill il us
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Coef ft to SneaF. Clay
WASHINGTON-Imprisoned labor leader James "Jimmy" R. Hoffa lost his
appeal to the Supreme Court Monday from a pension fund fraud conviction,
confronting him with an additional five years in the penitentiary and possible loss
of the Teamsters Union presidency.
Hoffa is already serving an eight-year sentence for jury tampering but would
been eligible for parole bid in March. This could have brought his release before the
1.6 million member union holds its first convention in five years in Miami Beach in
July and kept open his chances of being reelected president.
However, with the additional sentence facing the fiery, 57 year-old union boss,
prospects of his remaining in power are dimmed.
Technically, Hoffa could be granted parole on both sentences in March because
the five-year term for the fraud conviction is what is termed by federal authorities
as an "indeterminate sentence."
Whether this would be done by the federal parole board is problematical.
The court rejected Hoffa's request for a new hearing without comment.
However, in another action, the court agreed to hear an appeal by former
heavyweight champion Cassius Clay from his conviction for refusing induction into
the Army. The legal delay insured that the multimillion dollar title fight between
Clay and present champion Joe Frazier in New York City March 8 will take place as
scheduled. ....
Laird calls trip 'heartening'
SAIGON Defense Secretary Melvin R. Laird ended a "heartening" three-day
mission to South Vietnam Monday and said the Nixon administration would "meet
or beat" its goal of withdrawing 48,500 more American troops by May 1.
Laird said he was encouraged by the progress of the Vietnamization program in
which South Vietnamese troops are taking over the major share of fighting the war,
and he told newsmen the Communist threat in Indochina is lower than it was at this
time a year ago.
But he warned that the flow of North Vietnamese troops into Laos was
increasing and declared that U.S. strategists are watching the military situation in
neighboring Cambodia "very closely."
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As the year ended, most critics were
busy compiling their "ten best" lists.
Considering the film selection in the
Chapel Hill area, such a list on my part is"
hardly feasible. Perhaps the most notable
feature of the past half year is ther
overwhelming flood of "youth" films
which hit local theaters. From "Getting
Straight" and similar "campus" films, to
"Woodstock," to "The Baby Maker," to
"Kama Sutra" and beyond, the college
generation has come close to drowning in
"frankness and honesty."
As one Tar Heel columnist recently'
asserted, with a straight face: "One
important characteristic of the 'new
culture' which is often misunderstood is
the need for personal honesty. Children
brought up in the soap-opera
environment of many American families ,
have grown to hate the 'white lies' thati
oil the' wheels of our society." And
filmmakers have told us the same thing.
Times without number they have
presented the glorious spectacle of young
people, magically freed from the
prejudices of their upbringing, devastating
the old generation with their honesty. It's ;
so beautiful, it's like a new American.
Dream. ,
The stardom of Elliot Gould is one of
the most tangible results of the new',
mythology. It's also one of the most'
convincing proofs that however you slice '
it, "one important characteristic of the
'new culture' " is-the old culture.
Gould, I hope I can be forgiven for
saying, occupies a place for our
generation somewhat analogous to that
which Gary Cooper held for the young
people of the thirties. Cooper's
stutterings and clumsiness were good
earnest of his sincerity; Gould, animated
and articulate, tells you that he is
unflinchingly honest. Cooper was too
intensely serious to laugh; Gould's humor
is the vehicle by which he conveys the
incisive and (supposedly) painful quality
of the Truth.
Together, Cooper and Gould represent
almost complementary aspects of the
young mind: the high seriousness of
youth devoted to some romantic cause, as
distinguished from the adolescent
conviction that there is nothing quite so
significant, and at the same time so
entertaining, as the play of one's intellect.
s Forced to choose between the
attractiveness of the two personalities, I
would have to take Cooper.
Be that as it may, however, rather than
attempt to summarize specific trends any
further, I'd like to mention a number of
films which appeared in the Chapel Hill
area this year, with a few comments.
Most of these were reviewed in previous
columns. They're listed, according to
quality.
"Women' in T.ove." Certainly the best
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filzi to hit Chapel Hill this year. It
managed to combine an expressive
density of background with a literate and
exciting script.
The Landlord.' The plot goes
somewhat awry in the Last half hour, hut
this is still from every point of view the
best comedy of the year. It spent three
days in town, Sunday, Monday, 2nd
Tuesday, which is why you probably
missed it and why I didn't bother
reviewing it. God bless the theater
owners!
"Patton." In an ideal world, this
would have been a drama. An exciting
war flick.
"Julius Caesar." Brutus stabbed the
wTong man. It should have been Stuart
Burges, who directed this hashed-up
version of the Bard.
'The Virgin and the Gypsy." More
Lawrence. At times excruciatingly slow,
the overall effect is nevertheless that of a
beautifully-sustained cinematic image.
"Joe." A good idea gone wrong from
want of ambition.
"The Baby Maker." A youth film that
actually was enjoyable, if only because it
made the very slightest of claims on
either the intellect or emotions of its
audience.
The Boys in the Band." The "shocker
of the year," that turned out to be 3
bunch of fags acting bitchy.
"Lovers and Other Strar.gers,"
Celluloid wit and wisdom.
Woodstock." Some good music
sandwiched between self-conscious
filmmaking and pompous philosophizing.
'Tropic of Cancer." Many good
moments in a context which was basically
callous and uninteresting.
"Diary of a Mad Housewife." Female
exploitation with a twist. The opening
credits plagiarize the old "worry-worry"
aspirin commercial, and the rest of this
"corruscating study of marriage" is
downhill.
"Getting Straight." Elliot Gould. Did
you notice that the title is a pun?
"I Love My Wife." More Gould. Not as
interesting as a pun.
'Tell Me that You Love Me, Junie
.Moon." What won't Hollywood do to
wring tears out of us? Nothing. Nothing
all.
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